Review: The Royal Ballet is back with The Nutcracker – the magic really sings
Matthew Paluch sees The Nutcracker with the Royal Ballet and Opera – top-notch entertainment of quality, where the gold sparkles more than anywhere else.
| Title | The Nutcracker |
| Company | The Royal Ballet |
| Venue | Royal Ballet and Opera, London |
| Date | 22 November 2025 |
| Reviewer | Matthew Paluch |
It’s definitely Novembermas at the Royal Ballet and Opera (RBO), as Peter Wright‘s The Nutcracker opened last night, 22 November, for the festive season, running until 5 January.
There are many different casts to savour over the 6.5-week run, so the 41-year-old production feels both inherent and fresh on opening night, and will do moving forward.
As Nutcrackers go, the Wright is a staple. The Julia Trevelyan Oman designs bring a glow of nostalgia and taste, and Wright’s production is both layered and recognisable in all aspects.
The company performed well on opening night, with stagecraft and dancing of quality on abundant show. There was the odd moment that made me wonder if things had been a bit rushed in the studio, and when considering that the Perspectives triple bill only opened eight nights beforehand, my assumption could be correct, but I’m sure any kinks will be smoothed out, tout suite.
Act One ran like clockwork from family soiree to magical transformation and the widely known Snowflakes closing scene. The production side of things was top-notch, as per, and this means the magic element really sings. Seems silly to say, but the gold sparkle at the RBO seems to sparkle more than anywhere else?! And the snow doesn’t say tissue paper at all – this is the real McCoy.
The Snowflakes were the pinnacle for me. Here we see the Royal Ballet corps de ballet at its finest. Articulate, zappy, and full of body movement, the ladies whip up an actual storm with Wright’s dynamic phrasing and patterning. I did wonder, is this a bit too drilled? In the odd moment, some of the port de bras lacked nuance, but it’s a fine line to achieve.
Act Two ran as smoothly as Act One, and the Trevelyan Oman set remains jaw-droppingly beautiful. They dance, and we observe, inside the most decadent, architectural cake – Xmas heaven overload.
The diverts come thick and fast and don’t disappoint. Spanish showed the company knowing their way around character work, and in the Chinese dance one doesn’t know where to look! Caspar Lench and Taisuke Nakao are both such super dancers that one is truly spoiled for choice. The Russian was good but not as consummate as the Chinese, and the Dance of the Mirlitons was performed at a very inspiring speed, giving the whole piece energy and zing. The reworked Arabian makes me hanker for the original, and the presage lifts need to be a little more seamless in order to perpetuate the overall chill vibe.
The Waltz of the Flowers is a pyramid scheme in action, and the company know their way around the choreography well. Opening night was largely successful, but I’m sure the piece will improve like a fine wine over the run. All dance with quality, especially the men, and specifically Giacomo Rovero (debuting as The Prince on 26 November), and throughout one sees fine line and regality. I’d keep analysing arabesque execution though, as the odd one slipped into whack territory – emphasis on height rather than intention – which isn’t good news, even more so at Christmas time!
Sae Maeda as the Rose Fairy gave a confident performance but, like the production, has space to develop into what she can, and will, be… I’m sure.
Viola Pantuso is a convincing Clara. Her characterisation has the perfect balance of both child and young woman, and the dancing unfolds with ease and taste. Leo Dixon has the ideal look for Hans-Peter and The Nutcracker, and develops nicely as the ballet continues. I feel he could bring more personal interpretation to matters after the Battle, and hope he does so in subsequent performances. Thomas Whitehead as Herr Drosselmeyer is exactly what the role needs – a master of ceremonies who’s always there but never pulling too much focus. It’s a difficult balance to find, but he did. Also, bravo to James Large who goes from hilarious old man in Act One to sophisticated Waltz of the Flowers gentleman in Act Two – now that’s range!
The opening night principal couple were Fumi Kaneko and William Bracewell, and they looked a million dollars, both together and individually. The wigs can’t be fun to dance in, but the blinged, Mr Whippy style is the stuff of Nutcracker dreams and long may they reign.
The grand pas de deux was stunning. Both dance with big movement and bravery, yet don’t miss a minute detail or millisecond of a pose – one can see the Dame Darcey Bussell coaching effect in action! Kaneko and Bracewell have proportions and elegance to die for. And how does he manage to bring wistfulness to a Cavalier (Prince, I know) role? By which I don’t mean sadness, more a serious reflection of what he’s doing, when he’s doing it. He must be a total dream to dance with, and the couple showed numerous moments of deep connection.
The solos were a little less convincing. The dancing was, of course, to a very high standard, but I think further conversations are needed with Maestro Koen Kessels. Kessels brings music to life, no doubt – Snowflakes in particular – but his tempos can seem erratic at times. Bracewell had a very slow start to his solo, which didn’t feel comfortable, and Kaneko’s speeds were unpredictable throughout. Though the way she finished her solo was fantastical, absolutely on the nail of the last note without even a blink. Brava!
All in all, the evening was what you’d expect from the Royal Ballet in The Nutcracker – top-notch entertainment of quality. It’s a longish run, so areas of weakness will improve, but the average punter is just going to think “this is pure magic”, and that’s what really matters. Happy Novembermas, I mean Christmas, folks!
Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.
Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.
He is a member of the Dance Section of The Critics’ Circle.
